This groundbreaking examine appears to be like past biblical texts, that have had a robust impression over our perspectives of women's roles and price, that allows you to reconstruct the common daily lives of ladies in historic Israel. Meyers argues that biblical assets by myself don't provide a real photo of historic Israelite girls simply because city elite men wrote nearly all of the scriptural texts and the tales of girls within the Bible situation remarkable participants instead of traditional Israelite girls.

And so, as could not fail to happen, nature asserted her right, and a greater adaptability of the melody to the words was primarily called for. 1^6. Did the simplification of the manner of composition and the more careful treatment of the text follow suddenly or gradually? In regard to the composition of masses and motets the former must be maintained, but in regard to song-like compositions the latter, on the contrary. As far back as we can pursue the study of the writing of part-songs, it exhibits an essentially simpler workmanship than the motet and mass.

That which, like our tonic or dominant, formed the middle, or final, point of the scale; i. , just as we still recognize similar holding-notes as pedal-points. The historical support for the assumption of this kind of polyphony we have in the early appearance of instruments with so-called bourdons or drones; the bag-pipes and hurdy-gurdy had these unalterable basses, and to the oldest bowed instruments It appears that (chrotta, viella) they were also peculiar. the habituation to this kind of instrumental two-part music led to two-part vocal music; but for want of all documents and monuments, it must remain an open question CHAP.

We understand by it that highly developed canonic treatment of the parts, especially of the 15 th century, the beginning of which could already be pointed out in the Although, by later historical 1 2th and 13th centuries. researches, the fallacy of the assumption, that artistic counterpoint was, so to speak, invented in the Netherlands, has been thoroughly proved, in so far that it becomes increasingly evident that in France as well as in England and Germany they worked industriously at the perfecting of composition and the development of the nature of imitation, before the Netherlands had drawn the attention of sg HISTORY OF MUSICAL FORMS.